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Early Romantic Poetry (English)
The chaotic era of the French Revolution and the succeeding Napoleonic Wars, whilst devistating to the European subcontinet, also led way to the birth of a new cultural era. By the end of the 18th century, the classical movement had all but subsided in favour of new styles emphasised by freedom of expression and natural influences. This was the Romantic Movement. This zeitgeist, characterised by aesthetics, apprehension, horror, and awe, reached beyond the rational ideas of the Classical Era, Enlightenment Era, and all preceding periods. The first tenure of the Romantic Era, the Early Romantic Period (approximately 1780-1820) was highlighted by a select group of English authors and poets who pulled inspiration from growing global events: the Napoleonic Wars, the growing sense of European nationalism, and, of course, the rapid rise of Western industrialisationism. Five such English poets who helped usher in this sensational moment in poetic history include William Blake, John Keats, George Gordon "Lord" Byron, Percy Bysshe Shelley, and William Wordsworth. William Blake Biography A true renaissance man of the era, William Blake, whilst pursuring his career as a forerunning poet in the Romantic Movement, also became proficient in his native England as a painter and printmaker. Known for his outspoken and controversial idiosyncratic views, Blake, through his poetry, became infamous in his lifetime for angrily criticising the growing economic trend of industrialisation, poverty, and Britain's continuous involvement in wars during Europe's pre-modern liberal wave. He has been called an "angry poet" and even an activist of his time; but was an artist nonetheless, because as in the words of Leon Trotsky, rebellion is indeed an art-form. Born in London in 1757, Blake first became interested in art at a young age, pulling inspiration from the works of Italian Renaissance painters Raphael and Michelangelo. However, during the American and French Revolutions, Blake turned to treatise-writing and poetry to acclaim the rebellions he adored. During this time, he also met and befriended several other notable British intellectuals of the era, such as chemist Joseph Priestly, philosopher Richard Price, and revolutionary writer Thomas Paine. As his poems became more widely-read, Blake gained much popularity; even still, he considered himself primarily a painter more-so than a poet. With his first publication of poetic works (Poetical Sketches) in 1783, Blake thus helped bring England into the new Romantic cultural age. He would continue to proliferate his advocating writings until his death in 1827. Selected Works ''London'' By William Blake I wander thro' each charter'd street, Near where the charter'd Thames does flow. And mark in every face I meet Marks of weakness, marks of woe. In every cry of every Man, In every Infants cry of fear, In every voice: in every ban, The mind-forg'd manacles I hear How the Chimney-sweepers cry Every blackning Church appalls, And the hapless Soldiers sigh Runs in blood down Palace walls But most thro' midnight streets I hear How the youthful Harlots curse Blasts the new-born Infants tear And blights with plagues the Marriage hearse Commentary on London In Blake's writing about his home city, one would likely expect the author to be sentimental and nostalgic for the place he was raised in. Quite the contrary, Blake creates a harsh and disturbing picture of the British capital, one of poverty and despair among the people. As he lived and often worked from London, it is indeed in Blake's place to criticise the town, as he more than likely held a lucid understanding of the struggles the Londondian working class faced (Blake himself came from a lower-class family). Clearly a social outcry, the poem seems to detest the ideals of any social classes at all; does that, ergo, label Blake as an early socialist? Whilst the first few lines of the poem create a neutral scene, Blake wastes no time to emphasise the "woeful state" the people of London are in. The word "cry" is then used ambiguously throughout, to refer not only to infants (as one would naturally expect) but also to men. As this poem was published in a collection of Blake's works entitled Songs of Experience ''in 1794, the French Revolution, coupled with the era of turmoil known as the Reign of Terror, had reached its climax. Simultaneously, social and political unrest had erupted in London as to how the British government should respond to the French ordeals. The lower classmen of the society soon rose arms, and subtle violence ensued, thus explaining the line "Runs in blood down Palace walls". Blake then proceeds to protest marriage ("And blights with plagues the Marriage hearse"). Ironic, due to the fact Blake had happily been married for twelve years already, he is perhaps advocating the individualism of man: thus another revolutionary ideology. ''And Did Those Feet in Ancient Time By William Blake And did those feet in ancient time Walk upon England's mountains green? And was the holy Lamb of God On England's pleasant pastures seen? And did the Countenance Divine Shine forth upon our clouded hills? And was Jerusalem builded here Among these dark satanic mills? Bring me my bow of burning gold! Bring me my arrows of desire! Bring me my spear! O clouds, unfold! Bring me my chariot of fire! I will not cease from mental fight, Nor shall my sword sleep in my hand, Till we have built Jerusalem In England's green and pleasant land. Commentary on And Did Those Feet in Ancient Time This poem, published as part of an epic poem between 1804 and 1810, gives us an unsatisfactory glimpse of Blake's religious beliefs. Born to a devouted Christian Orthodox family (oddly enough, of the Moravian Church), Blake soon began to attack conventional religion in his writings: something extremely shocking in his day. No doubt he had been inspired by British deists of the Enlightenment era, such as John Locke and David Hume (and, to an extent, Blake's good friend, colleague, and extreme deist Thomas Paine). In this poems first stanza, Blake discusses and seems to ratify an ancient belief that Jesus Christ had, during his lifetime, visited the British Isles. Whilst not entirely impossible, this seemingly absurd theory has since been rejected by contemporary theologians. However, the poem quickly opens up to a broader notion, and this theory is put on hold. It is then assured that this ultimately is not a poem discussing Christian morals and values; Blake is merely drawing an analogy of Christian tradition to ask the reader a simple question: did sublimity ever exist in England? Like his other poem selected, Blake is once again criticising and openly advocating his despise for the industrial age England was entering. He uses the city of Jerusalem as an equality of "paradise" or "utopia", and satirically shares his concern as to how this Jerusalem has since been overshadowed "among these dark satanic mills", another direct reference to industrialisation and the growing number of factories that had sprouted across southern England. In a bold statement of willingness and determination, Blake then, quite literally, calls the subject of the poem to arms. One could only assume that said subject is indeed Blake himself, given his disapproval of a liberal England. In the final stanza, he makes a pledge to the reader that only through perseverance can England return to its "formal glory", by building "Jerusalem, In England's green and pleasant land". Notes, biographies, and commentary by Jeremiah A. Garland. Category:Poetry Category:English Category:Romantic Category:Romanticism Category:18th Century Category:19th Century